The German Classics of the Nineteenth and Twentieth Centuries, Volume 06: Masterpieces of German Literature Translated into English. in Twenty Volumes — John Shaqi
The German Classics of the Nineteenth and Twentieth Centuries, Volume 06: Masterpieces of German Literature Translated into English. in Twenty Volumes
General
The German Classics of the Nineteenth and Twentieth Centuries, Volume 06: Masterpieces of German Literature Translated into English. in Twenty Volumes
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
After proceeding a little distance, I met with a traveling journeyman
who came from Brunswick, and who related to me that it was generally
believed in that city that their young Duke had been taken prisoner by
the Turks during his tour in the Holy Land, and could be ransomed only
by an enormous sum. The extensive travels of the Duke probably
originated this tale. The people at large still preserve that
traditional fable-loving train of ideas which is so pleasantly shown in
their "Duke Ernest." The narrator of this news was a tailor, a neat
little youth, but so thin that the stars might have shone through him as
through Ossian's misty ghosts. Altogether, he was made up of that
eccentric mixture of humor and melancholy peculiar to the German people.
This was especially expressed in the droll and affecting manner in which
he sang that extraordinary popular ballad, "A beetle sat upon the hedge,
_summ, summ!_" There is one fine thing about us Germans--no one is so
crazy but that he may find a crazier comrade who will understand him.
Only a German _can_ appreciate that song, and in the same breath laugh
and cry himself to death over it. On this occasion I also remarked the
depth to which the words of Goethe have penetrated the national life. My
lean comrade trilled occasionally as he went along--"Joyful and
sorrowful, thoughts are free!" Such a corruption of text is usual among
the multitude. He also sang a song in which "Lottie by the grave of
Werther" wept. The tailor ran over with sentimentalism in the words--
"Sadly by the rose-beds now I weep,
Where the late moon found us oft alone!
Moaning where the silver fountains sleep,
Once which whispered joy in every tone."
* * * * *
The hills here became steeper, the fir-woods below were like a green
sea, and white clouds above sailed along over the blue sky. The wildness
of the region was, as it were, tamed by its uniformity and the
simplicity of its elements. Nature, like a true poet, abhors abrupt
transitions. Clouds, however fantastically formed they may at times
appear, still have a white, or at least a subdued hue, harmoniously
corresponding with the blue heaven and the green earth; so that all the
colors of a landscape blend into one another like soft music, and every
glance at such a natural picture tranquilizes and reassures the soul.
The late Hofmann would have painted the clouds spotted and chequered.
And, like a great poet, Nature knows how to produce the greatest
effects with the most limited means. She has, after all, only a sun,
trees, flowers, water, and love to work with. Of course, if the latter
be lacking in the heart of the observer, the whole will, in all
probability, present but a poor appearance; the sun is then only so many
miles in diameter, the trees are good for firewood, the flowers are
classified according to their stamens, and the water is wet.
Public-domain text, read in full here on John Shaqi.
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